This compelling publication traces the broad arc of photography’s development in France from the 1970s to the present day. A decade-by-decade account reveals unexpected points of convergence between practices that are not usually considered in a comparative perspective. These include photographic practices in contemporary art, documentary, photojournalism, and fashion. Author Olga Smith sets these practices in dialogue with French philosophy – the writings of Roland Barthes, Jean Baudrillard, and Jacques Rancière – to produce an innovative study of the intersections between the photographic image, text, practice, and theory. This analysis is guided by an understanding of photography as deeply engaged with historical, cultural, and intellectual events that defined French national experience in the contemporary period. Landscape provides a particular focus to study issues of key significance, including national identification, colonial past, legacies of modernization and environmental breakdown.

Photography has come a long way since the unwieldy—and potentially dangerous—first cameras invented in the 1800s. In this guide, dazzling photographs and illustrations reveal the remarkable story of photography—and the secret to taking a great picture. Discover the art of underwater photography and photojournalism, see spy cameras used by real-life spies, witness how photography has transitioned into the digital world, and find out how much the most expensive photograph is worth! Discover the evolving world of photography from pinhole cameras to the digital age

A deep dive into the pioneering collection of nineteenth-century French photographs, equipment, and ephemera, which is a cornerstone of the George Eastman Museum In the early twentieth century, Parisian photographer, amateur historian, and collector Gabriel Cromer (1873-1934) amassed a collection that traced photography's prehistory, invention, and development to about 1890. His dream was to found a national museum of the photographic arts in France. Although Cromer's ambition was never realized, his collection was central to establishing the world's first museum dedicated to photography: the George Eastman Museum. The Cromer Collection of Nineteenth‑Century French Photography considers the origin and circulation of the collection as well as the influence it has had on photography as a field of study. The book's six essays, written by French and American scholars, explore the Cromer Collection's complex passage across markets, borders, and functions. For more than half a century, curators and scholars worldwide have drawn extensively on the Gabriel Cromer Collection for exhibitions and publications; this book provides the first focused scholarly study of the foundational resource.

Catalog of an exhibition held at Musee d'Art Americain Giverny, France, Aug. 31-Nov. 30, 2003; Tacoma Art Museum, Tacoma, Wash., Dec. 18, 2003-Mar. 28, 2004; and Terra Museum of American Art, Chicago, April 17-June 27, 2004.

The Encyclopedia of Twentieth-Century Photography explores the vast international scope of twentieth-century photography and explains that history with a wide-ranging, interdisciplinary manner. This unique approach covers the aesthetic history of photography as an evolving art and documentary form, while also recognizing it as a developing technology and cultural force. This Encyclopedia presents the important developments, movements, photographers, photographic institutions, and theoretical aspects of the field along with information about equipment, techniques, and practical applications of photography. To bring this history alive for the reader, the set is illustrated in black and white throughout, and each volume contains a color plate section. A useful glossary of terms is also included.

Photographer and filmmaker Nic Nicosia makes pictures. Since the late 1970s, Nicosia has staged and constructed sets, objects, and situations to be photographed rather than to reproduce something that already exists. These conceptual fabrications have ranged from elaborate sets with live actors to dioramas and abstract constructions. Whether his pictures contain a disturbing suburban narrative, or are fabricated by the act of drawing, or are simply created by the use of common objects with dramatic lighting, the familiar thread of Nicosia's unique vision and sensibility is always present. Nic Nicosia is the first major publication of the artist's work and covers his entire oeuvre through 2011. The catalog presents images from all of Nicosia's major photographic series, including Domestic Dramas, Near (modern) Disasters, The Cast, Life as We Know It, Real Pictures, Love + Lust, Acts, Sex Acts, Untitled Landscapes, 365 SaFe Days, Untitled (drawing), Space Time Light, I See Light, and in the absence of others, as well as stills from the videos Middletown, Moving Picture, Middletown Morning, Cerchi E Quadratti, On Acting America, and 9 1/2 Hours to SaFe. Accompanying the catalog is an overview of Nicosia's career by Michelle White, an interview with the artist by Sue Graze, and an original short story by Philipp Meyer that powerfully resonates with the sense of wonder and menace in Nicosia's art.

This book represents the first book-length, critical study of the art of Emile Gallé. It thus promises not only to revolutionize our understanding of his work but also to reframe the study of Art Nouveau by relocating the movement within the deeply politicized context in which it was created.

The first transnational history of photography’s accommodation in the art museum Photography was long regarded as a “middle-brow” art by the art institution. Yet, at the turn of the millennium, it became the hot, global art of our time. In this book—part institutional history, part account of shifting photographic theories and practices—Alexandra Moschovi tells the story of photography’s accommodation in and as contemporary art in the art museum. Archival research of key exhibitions and the contrasting collecting policies of MoMA, Tate, the Guggenheim, the V&A, and the Centre Pompidou offer new insights into how art as photography and photography as art have been collected and exhibited since the 1930s. Moschovi argues that this accommodation not only changed photography’s status in art, culture, and society, but also played a significant role in the rebranding of the art museum as a cultural and social site.